지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
오류제보하기
Korean daily newspapers under the rule of Japanese Imperialism was a kind of the field of cultural argumentation. Film criticism on the literary pages of Korean daily newspapers has shown public interests in cinema. Cinematic argumentation of daily newspapers took place public interests and responses.
Main arguments took place in between revolutionary film professionals of KAPF and active filmmakers. Owing to reponses of the people longing for cultural vaccine and changes, film professionals could argue critically with various film theories in public sphere under the repressive atmosphere of Japanese imperialism.
Argumentation from the late of 1920s to the early of 1930s took place in the period of civilization, in which theories and arguments were excessively flown, censorship of production was clamped, and production financing too depended on box-office profits.
Argumentation in this period shows a few characteristics: First, the arguments were in between critics and directors or producers. Second, the underlying principle based on the KAPF platform was opposed to filmmakers' remonstration about the poor production circumstance. Third, the KAPF's idea of popularization was absorbing in cinematic argumentation. Fourth, private utterances and personal attacks appeared when perspectives difference between filmmakers and critics got big write-ups in the newspapers, which derived from differences of philosophies and views of the world between them.
However, there are common denominators in cinematic argumentation of that period: One is the sign of allowance of art argumentation as the dimension of vaccination to the oppression in the Japanese imperialism. The other is 'objective collusion' between KAPF theorist and filmmakers. Arguments aimed toward responses of the people aspiring to concentration of the left intelligentsia and changes. Public responses bring to conclusion of link to 'the movement of making socially conscious class' of KAPF, and a box-office success in the production field.
Main arguments took place in between revolutionary film professionals of KAPF and active filmmakers. Owing to reponses of the people longing for cultural vaccine and changes, film professionals could argue critically with various film theories in public sphere under the repressive atmosphere of Japanese imperialism.
Argumentation from the late of 1920s to the early of 1930s took place in the period of civilization, in which theories and arguments were excessively flown, censorship of production was clamped, and production financing too depended on box-office profits.
Argumentation in this period shows a few characteristics: First, the arguments were in between critics and directors or producers. Second, the underlying principle based on the KAPF platform was opposed to filmmakers' remonstration about the poor production circumstance. Third, the KAPF's idea of popularization was absorbing in cinematic argumentation. Fourth, private utterances and personal attacks appeared when perspectives difference between filmmakers and critics got big write-ups in the newspapers, which derived from differences of philosophies and views of the world between them.
However, there are common denominators in cinematic argumentation of that period: One is the sign of allowance of art argumentation as the dimension of vaccination to the oppression in the Japanese imperialism. The other is 'objective collusion' between KAPF theorist and filmmakers. Arguments aimed toward responses of the people aspiring to concentration of the left intelligentsia and changes. Public responses bring to conclusion of link to 'the movement of making socially conscious class' of KAPF, and a box-office success in the production field.
목차
1. 서론
2. 본론
3. 1920년대 말과 1930년대 초의 영화 논쟁-강령의 제도화와 대중적 호응
4. 결론
참고 문헌
Abstract
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